Color Theory Essentials | Tunnel Vision LTD | Skillshare
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13 Lessons (51m)
    • 1. Intro

      1:24
    • 2. 1

      3:50
    • 3. 2

      2:22
    • 4. 3

      4:44
    • 5. 4

      2:55
    • 6. 5 colour wheel final new

      5:40
    • 7. 6

      4:38
    • 8. 7

      3:57
    • 9. 8

      7:23
    • 10. 9

      3:37
    • 11. 10

      2:47
    • 12. 11

      3:40
    • 13. 12

      3:51

About This Class

If you need to generate a color scheme for your next project, but you just can't decide, help is at hand. These videos cover many different ways to do it - perfectly. Every time.

Transcripts

1. Intro: Hi, My name is Mark Gather and welcomed thes videos on color theory essentials. The intention here is to get you started with exactly the colors you need every time I've been working in graphics of 40 years, I've been a freelance designer for 30 years. I've been working with these three since they first came out on I'm in Adobe a C I, Adobe certified instructor, and I've got the A C E qualification in all three. I've also had five books published along the way, and we're gonna start by looking at things like the color wheel and traditional ways of generating color schemes were also going to head off into some online resource is there's a lot of good stuff out there is. You'll see, and we also have a look at the Adobe color site, which is probably one of the best sites out there for creating your own color schemes. Although maybe there's a drawback or two, you'll have to watch to find out we're gonna look at Primary secondary and tertiary colors . We're gonna look at RGB versus CM Wake A, which is not traditional at all, were very, very important. Will also look at a bit of color psychology. So maybe you'll change your mind about painting a living room bright red. And we'll also look out Adobe illustrator and in design. And how you can generate color schemes in both those that you can then use elsewhere. So all together, I think it would be a useful trip. Please come with me and I hope you enjoy it. 2. 1: Connor is something we see. We can't hear it, Touch it, smell it or taste it. We can look at it. So in order to look at it, we've gotta have eyes that work. We've gotta have something out there that we can look at and we need light. If there's no light, we can't look at anything. And oddly enough, and I bet a lot of people watching this video for the first time won't know is that light is invisible. Now, that sounds really done, doesn't it? But if you sat in a dark room and Sean a tight beam of light right across in front of your face, you wouldn't be able to see it. You'd see it as soon as it hits something. You'd see the reflected light, but you won't see it until it bounces off something. So if white light hits a glass prism, it breaks it up into a rainbow. If you could put the rainbow together and bounce it back through the prison, you'd have white light coming out the other side. So all the colors of the rainbow combined to make white light. Sunlight and sunlight can be divided up to make a with colors of the rainbow. When sunlight hits an object, all the colors except the reflected color are absorbed. So you could say that the color of the object is everything except what we see reflected because the reflected color is one thing being rejected. But that's not what we do, is it? We see the object as being the color that's reflected back, and we say the leaf is green. But is it? I don't think so. The potential color for the leaf is green if you shine a white light on it. But how about this? What kind of is that? Leave now and why it doesn't look green anymore, does it? If you shine a red light on it, there is no green light in red light, none at all. So there's none that could be reflected by the leaf. And no light equals dark, doesn't it? So the leaf looks black. How about if we turn the lights down? We keep it as a white light. We just turn it down. So what color is the leaf now and now, and keep on going. What about if we turn the lights off altogether? How Can you talk about color if there's no light, so the leaf isn't green, the color of the leaf? Yeah, maybe the color of the leaf is green if you shine a white light on it, but the leaf itself now it's nothing to do with color. It's nothing to do with light, where we've gone around our whole lives, possibly making a fairly fundamental mistake. We've been saying all the leaf is green, the brick is red and so on, and it might sound a little picky and pedantic to say, Well, that's not actually how it is. But if it means that we're making a fundamental mistake about our perception of the world around us, I'd say that's a biggie. That's not silly, pedantic stuff at all. That's pretty major. So please look around and see if you can figure out anything that doesn't depend another stuff for how it appears. And if you find something, let me know, because I don't believe there's anything out there that doesn't depend on other stuff. Now, in the next video, I'm going to start looking at how to choose components of a color scheme 3. 2: Here's a summer traditional way of looking at color choices. I'm starting with one another as the primaries Blue, red, yellow. The idea is that the primaries can't be mixed. You've gotta happen to begin whether you can't mix any of the other colors. You mix pears off them together to produce the secondary colors, and then he makes a secondary with one of the primaries to produce the tertiary colors and so on. So let's look of this and a little bit more detail here. We've got blue and yellow, and they combined to reduce green. Now that dark green is a combination. The first green and the blue and the light green to the left is a combination, the first green and yellow. And that's how the tertiary colors it created. If we took red and yellow together, they would combine to make orange. And if I wanted to make a tertiary color that light orange, that would be that orange plus yellow. So here the others we just talked about and he is the rest of them kind of pretty pattern, isn't it? But the thing is, the blue that I started with isn't really a primary color. It's a very blue blue, isn't it? But that's scion. Mixed with magenta in a scion is the printing blue that they use in four color process printing. Magenta is another of the colors that they use at cyan, magenta and yellow, and then black is added to make things darker. These are the starting point for anything that's printed in color and really the starting point for pretty much any color that's put down on the surface is paint a wrinkle like that , their fundamental colors. You can't mix magenta. You can't mix san. You can't mix yellow by combining other colors. They a starting point, the opposite colors to these a red, green and blue and those who used to produce all the colors that you see on your computer screen and so on. Now how do you reckon you get yellow out of those because you can see yellow on the computer screen, can't you? Well, let's look at these in a bit more depth 4. 3: This is red. I know. Stunning, isn't it? It's supposed to represent the red component of RGB red, green and blue. And so it's made of light. So I'm not trying to give you something that sort of looks like it's made of paint. It glows in the dark, and here it is with green. Now look at where they overlap. That's how you get yellow on a computer. You mix red and green. That's not gonna work with paint, is it? You get a sort of muddy brown if you did it with paint, so light mixes in a totally different way to wink or pigment or toner for his blue. The third component. So now we've got where the green and red combined. We've got yellow where red and blue combined. We've got magenta, we're blue and green combined. We've got Scion. Those are three of the four components of the four color printing process. Cyan, magenta, yellow and black is the fourth. Now that's involved because you can't actually get black with cyan, magenta and yellow. Even if you mix them all together, you certainly won't get what you see here, which is white. But that's because here We're mixing light on. When one color overlays another, you've got the light source from both of them. You've got something brighter. And when all three combined, you got white light. These three are a simplification of the rainbow that makes some white light. Now the printing process uses scion on the gente and yellow. And if I show you the overlaps between them now, this time to getting darker because this is what's known as a subtracted color scheme. RGB is called additive. I remember that in terms of each time you add a color, it's getting brighter. Where is see, um, way kay? Each time you had a car, it's getting darker, and it's obscuring what's underneath it. The paper more and more and more. Now here's a slightly different We're looking at these three. This is a triangle, and I'd like you to imagine that at the top. We've got red bottom left. We've got green button, right? We've got blue light sources, so every color you can mix with red, green and blue light will be in that triangle. Now, this is not a scientifically accurate representation. You just have to bear with me of course where they would mix in the middle is getting brighter and brighter and brighter, and so it will edge towards white. In the debt center. You would have white and has explained, If you mix red and green light together, you get yellow and red and blue gives you magenta and green and blue gives you scion. Now, if we're talking about cyan, magenta and yellow, that makes to produce something darker towards the middle. Now you wouldn't actually get the K of CME Wake A, which stands for key, incidentally, because borders and ruled lines and things like that a very often in black and the black plate therefore sort of tells the others where to go. So it's known in print shops is the key color, and that's where we get the K from CME Wake A. If you mixed all these three colors together, you would not get black. You get something like this on the left. You've got black on the rights. You've got a combination of cyan, magenta and yellow at 100% so it's very dark and muddy. It's certainly not white, but it's not black. I've added these triangles here, so that we can see what's going on. So the small triangle cm why, that's where all your printable colors live. And in the big triangle that's where your visible colors live. So if you picked, let's say this blue you want to do a nice blue in your layout. You picked that blue. You show it to the client. The client is delighted, and so you send it to print, and when it prints, you can't print that color. It has to do this. It has to move to the closest possible color that you can print, and that's what you get. So it's going from this, which is RGB blue to this, which is the C M y que closest possible match. Let me show you that again there's RGB. There's C M Y Que. Traditionally the biggest problem in printing is those aren't the right colors, and this is a fundamental reason why colors have been picked from outside the C N Y space, and they've got a change in order to print. Now what do you think the clients going to say? 5. 4: I'm fascinated by color and the way that it effects our minds and our perception. And I came up with this some time ago to demonstrate a couple of things about it. First of all, the way that they mix together. If they're opposites now, I'm sure we can all agree that black and white opposites So I've got a white layer turned on. Now the group that this is on is also visible, whereas the group the magenta layer in here, which is switched on that layer is not visible. So you can't see the magenta yet, but I got white turned on and above it. I've got black, but it's not solid black, is it? I'm going to zoom in so you can see what's happening here. Every other pixel is black, and if I turn off the white layer that checkerboard says, every other pixel is now transparent. So I turned it on again and then zoom out with Commander Control zero. We get gray now, mixing black and white together, giving you great. That's no big surprise, is it? I'm sure you're already for that. How about this one? His magenta pretty bright and above it I've got green. Let's turn this layer off now. The green is there in the same way the black was in the group below. Every other pixel is green. Every other pixel is transparent. So if I turn on the magenta layer and then do Commander control zero same gray, same gray that I go with black and white. There is no color left there at all. The colors have completely cancelled each other out, leaving us just with a tone a shade of gray. Now, if I turn off the green layer again, however, there's magenta strong color. Isn't it amazing that it's just cancelled out? And here is the black dot Now, what I'd like to ask you to do is keep your eyes fixed on that black dot. After a few seconds, it will have built up an image on your retina of the magenta rectangle. It's like shooting pictures with film. The film carries a negative image, so the image on your retina is actually green. Now, when I turned that magenta off, you should see green fading away onto white like that. So I do it again. I can hear you say yes. He is magenta Keeper. I fix on the black dot It builds up. You're going to see green. When I turn it off. There's green the opposite color, so that's kind of proof. They cancel each other out, and Magenta has an opposite. Who'd have thought it? 6. 5 colour wheel final new: This is the color wheel. It's all the colors of the rainbow, arranged his chips around a circle, and because of this, opposing colors on the circle are actually opposite to each other. It's often the starting point of people who want to put color schemes together, and you'll find a lot of websites that allow you to start with a color wheel to make your choices. So I'm gonna show you a few of the more obvious ways that you could go with it. First of all, this has called a monochromatic scheme. The idea is, you pick a color, but then you're gonna work with tents, shades and tones. Now the idea of a tent, it's your original hue. That's the kind of picked off the wheel, the hue, and it's a hue mixed with white. A particular amount of white on that gives you a tent. The shade is the original Hugh mixed with black, and the tone is the original Hugh mixed with gray. If you're going to start with a monochromatic color scheme, then by adding white or grey or black, you're adding neutrals. In all three cases, the results are gonna will be based on the original Hugh. They're all gonna be very closely related. So if you start with a purple hue it it's not going to become green by turning it into a tender or share a tone, it's going to stay purple. So monochromatic color schemes tend to be quite soothing, maybe kind of dull anyway. Sometimes they're the right thing to do. Sometimes you want something, Ah, little bit more fun. Okay, now here's magenta and here's green the opposite color. Now, if you picked these two that is called a complementary color scheme. And complementary just means you're using color opposites because of the way that colors appear around the wheel. Usually one of them is going to be warm, and the opposite color will tend to be cool. But not always. But it's always going to be a very high contrast result, no matter what. There are quite a few sub skin formats that are based on complementary, because complimentary on its own is tricky. You gotta have a lot of confidence to pull off a complementary color scheme any way you could also go for this one. This is called te tragic, and its two pairs of complementary colors, but they're not arranged like a 90 degrees to each other. It's not a square that's coming later. That is a recognized starting point, and you can see on the right. We've got the four Hughes. We've got the four tents, we've got the four shades and we've got the four tones. Well, there's any number of tents and shades and tones. This is just examples, and you could pick the hue of blue, the tone of magenta, the tent of green and so on. It's entirely up to you. The idea is, you look at the alternate options and then make your choices based on what you see on what you like. You could choose three sets of complementary colors if you really wanted. This is going to lead to fairly confusing color scheme, but there's no limit except in what you managed to create, and in what you can handle. The square color scheme that I mentioned a moment ago. You've got two complementary sets at 90 degrees to each other, so you can see why it's called a square. It's a kind of te tragic scheme again. It could be pretty difficult to work with and making one of the colors dominant and the others less so is kind of essential. Otherwise, it's crazy. This is a split, complementary scheme. Now this is where it starts to get much easier to work with. You can see there's an orange now opposite it would be one blue. But if you pick the two shades of blue, like two or three or four steps away from that and choose them instead, now you've got an interesting combination starting to happen with the tents in the tones in the shades. I'd say that's something a lot of people can work with pretty well. This kind of scheme provides high contrast, but with less tension than a pure complementary schemes, it's much easier to work with. This is called analogous Now. This is even easier to work with. All three colors in this particular set are right next to each other on the color wheel, so they're already pretty closely related, so this would be very, very easy to work with again. Usually one of the colors is used as the main color, and the others are used somewhat less. It's fairly similar to a monochromatic scheme, but obviously it contains a whole lot more variation, and this is a triad IQ scream. Now here we're back to possible confusion. Three colors equal, distant from each other, picked on the wheel tricky, very tricky. They tend to off a strong contrast. They tend to be pretty rich and harmonious. They're not, is contrast. In a violent, in a way is complementary schemes, and they maybe look a bit more balanced. Now. There's a lot of different ways of using the color wheel to come up with your choices. Personally, I don't I'm going to show you some other options coming up in the next few videos, which I would use instead. I've tried using a color wheel, drove me nuts. 7. 6: so I decided to have a look on lion and try and find a few useful sites that I could suggest is a means of generating a color scheme. And guess what? There are hundreds. So I took my time and I picked out a few that I think are particularly good, and this one pallet in dot com is the first. It doesn't allow you to generate colors from an image. We'll get to those, but this site allows you to drag the dots on that wheel around on. That would change the colors of the block on the right. Now, at the top left, you can see this is currently a monochromatic scheme, but you can choose all kinds of different schemes, and you can move those dots on the wheel accordingly. The dots across the center. Congrats them and drag, and you can increase the saturation or decrease it, so there's lots of different ways of working with it. If you click on one of those little color chips over on the right, it will open up a window, telling you what the breakdown is in terms of lab techs, a chrome and RGB. Unfortunately, it's not the biggest color chip in the world. You don't really get to see how large chunk of it's going to look at Jason to other colors , but it's still a pretty good site. And as you can see from the borders, there are lots of very useful ads here is well, anyway. Let's go until the next one, which is coolers dot Co, and this side generates a color scheme and then allows you to change it. Now that sounds basic, doesn't it? But a very nice touches you can see is that the blocks of color you're working with a nice and big, and because you can drag him around, you can check out how each of them look adjacent to any others having a large block of column, except much easier to sort of read what that color really is instead of having a small block of color. Options here include generating a range of your selected color from lighter to darker. That's if you click on alternative shades icon. You can edit the color with HSB sliders, as you can see from that central chip, and you can move the blocks around without arrow that points left and right, so you can get an idea of how anyone color looks against any of the others. And finally, you can lock them in position. Now. If your locket it means you can't accidentally move it, you can still change it. You can still mess around with the sliders, which you can't move it, so that's a pretty good site. Now I'm going to move on to some of the sites that allow you the import and image, and this is the 1st 1 pallet generated dot com and, as you can see, have uploaded an image to it already, and it's automatically picked a range of colors. The slider below that central disk. You can pull it to the left and choose fewer colors. You can put it to the right and choose MAWR. It gives you a few hours to as many as 10. You can change each one and also click and drag on the image to choose an area that you want to select the colors from now. That, as far as I'm concerned, makes it the closest online site toe how the color theme tool in in design works. That's something I'm going to cover in a later video, But it's a very useful tool. Canvas dot com, as well as generating a color scheme from an image. You can also edit photos here and generate font combinations. The photo editing is somewhat basic for anyone with a working knowledge of Photoshopped, but for many people it will be everything they need. And it's really useful to be able to see font combinations on screen. You get a really good idea of how one front looks against another, and that makes it much easier to make a choice that makes this site pretty unique. And then the last one that I thought to include his palate fx dot com. This site, which again works with an imported image, generates 12 colors, which you can then click on on. When you do, you offer the compliment. You see those chips below and other colors, which would make up a tray addict scheme based on the color that you've chosen. The site will also tell you whether the same color is available in pencils, markers, thread or yon again. That's pretty unique. It's not checking all the possibilities, however. It's pretty clear when you click on one of those that pallet FX has an arrangement with particular suppliers on. That's where these alternatives come from. But if you're trying to put together a color scheme for an art project, withdrawing or weaving tapestry work, maybe embroidery. It's a great site. 8. 7: This is the U. R L for adobes Online color picker site. That's pretty good. So let's take a look when you enter the site. You got this wheel in the middle with five spokes on it, and each spoke represents one of those color chips along the bottom of the screen. That's central chips got a little triangle at the foot that designated as the main color, and I could click in the same position on any of the other color chips and designate them is the main color. Instead, if I scroll down of it, you can see that each color is specified in five different ways. So the bottom that's Hexi decimal, which is how I generate the color on a website. Above that, I got HSB, hue, saturation and brightness. Above that, I've got lab lightness A and B. This is a tricky moto work within Photoshopped, but it's easy enough here. Then I've got RGB and then see him like a They're going by to watch TV for a second. The top side of represents read. The middle one is green, the bottom one is blue. So if I wanted to generate RGB blue for example, I tracked the bottom slide all the way to the right on, then red and green all the way to the left like this. And if I then wanted to find out what that was in C M. Y que when it says it's 100% scion and 100% magenta, and I'm going to come back to that in a minute. First I'm going to go back to the screen that we came in on, and if I was happy with the color theme I'd come up with, I could click on that button safe color theme and then sign in with my adobe I d. On that would save my set to the site. Alternatively, I might want to generate my colors from an image, in which case I'd click on this button here. Then they could drag and drop in image onto the page, and it would generate five colors from it, according to what I had chosen from this list. And there's an example, you can move those dots on the image around to different positions and change the colors that you've picks. Pretty straightforward. Now, going back to that entry paid for a second. Let's say that I want to look at kind of themes. I've come in here to try and find something inspirational. So I click on Explore Up of the top, and that opens this window. And these are the most popular color themes right now. And if I decided, Oh, I really like Ah, 2nd 1 down in the third column from the left and I hover over it. I can click on it and choose download, appreciate, save, edit, blah, blah, blah and I've got it. And then I can use it because that's the deal. Anyone up loads their theme to this site. It's available for anyone else. And if you upload your theme, that's true of that as well. Let's go back to this RGB page for a second. There's RGB blue, red and green all the way to the left blue all the way to the right. And in C m. Y que. It says that this is the same color that you can do and see him make a I'm sorry you can't if you try and achieve that counter and see um way Kay, you're gonna have a shock. So his theology be blue, and here it is. But this is how I look and see him like a and also the breakdown of the colors that will give you an Photoshopped. I'm not the same in my version of Photoshopped. It says 93% scion, 87 per cent magenta. So this one disagrees with it, and I'm running it on the same computer. Actually, I think adobes maybe got a little bit of work to do with this site, but generally it's pretty good. 9. 8: kind of psychology is really important. A lot of money gets spent on making sure that the colors that are being used are gonna have the right effect on us. The viewer. So I thought it be worth having a look at a few basic colors and telling you something about how their psychology works. Read to begin with. I'm dealing with the colors as they appear in the rainbow, so reds at one edge no recommend a lot of different things, depending on context. Usually it means either warmth or danger. It's a color we can't ignore. Basically, if you want a quiet life, don't paint your living room bright red, However, in some Eastern cultures, red means good fortune and prosperity, and it's the color worn by brides on their wedding day. It's also got some political connotations. It tends to get used in revolutions, things like that. If you use it in branding, it tends to indicate strength, confidence and power. But it might frighten people, so you got to use read with care. Orange combines the warmth of red with the cheerfulness of yellow on that combination Camino Activity and energy and Optimism, and it's also a color associated with autumn in India. The color saffron, which is a kind of dark orange, is considered sacred. That's a color of Buddhist monks robes. It's sacred to Hindus in Japan, Orange symbolizes love. In branding. Orange often represents youthfulness and creativity. Gold, very similar to orange or yellow, is a symbol of the luxury of high quality. Yellow is a color sunshine. Despite the fact that light from the sun is actually white, Yellow often communicates happiness, cheerfulness, friendliness and freshness. Look for it on the signs the next time you go to the supermarket. In some contexts, it could also mean a warning. Historically, yellows being associated with illness and quarantine, for instance, the international bio has its symbol is yellow. So again, you got to think of these connotations before you use it, in case you're going to put the wrong message Across. In some Eastern or Asian cultures, yellow is associated with royalty or high rank. Where is in parts of Africa and lead in America? It's the traditional color of mourning and branding. Pure bright yellow does a great job of attracting attention. This is another reason you're going to see it at your supermarket, but it can be visually disturbing or even hard to see, so you've got to use it with care. Green is a kind of nature plant life growth, and as such, it can communicate health and freshness and natural qualities very popular these days, Dark green can represent wealth or anything related to money and stability among cultures that practice Islam. Green is a sacred color. I think it said that in paradise you will be wearing robes of green silk. It's supposed to be in the profits. Favorite color green is also associated with Ireland and therefore Sim Patrick. Therefore, some Patrick's Day. You ever had a point of green beer in branding green, especially when it's mixed with other Earth colors, is used for things that want to come across as environmentally friendly, sustainable than organic and so on. Help the planet by green blue count of the sea and the sky on a nice day. Blue often communicates peaceful, clean qualities. It's a calming color. In some context, it could mean sadness or depression. That's why they call it the blues. In Middle East and cultures. Blue represents protection against evil and because of its association with the heavens. It can also symbolize immortality and spirituality when branding. It's one of the most versatile colors. It's generally used to communicate trustworthiness, security, stability dark or navy Blue is particularly popular, especially for corporate logos. One of the most commonly used colors is Pantone Reflex Blue, which is a quite dark navy blue. It's perceived to have serious conservative and professional qualities. Purple is traditionally associated with royalty or power, so in ancient Rome the Magistrates were purple. It can also have spiritual or religious connotations, and in many cultures, purple represents wealth. Nobility. However, in Thailand, in parts of South America, it's associated with morning in branding. Darker shades could be the luxury of opulence, while lighter shades can come across is feminine or even childish black. Okay, after rainbow now so black and white, A two of the most primordial colors you could work with on both of them can be incredibly effective, as well as saving you money. If you are looking at printing, printing in black and white is always going to be cheaper than printing in color. Like red, blacks got many, many meanings. It can represent power, luxury, sophistication, exclusivity but it can also mean death. Evil. The mystery. You gotta be careful when it's worn. Black generally communicates formality, black tie events or morning. It's the color traditionally worn at funerals in Western cultures. In some Asian on Latin American cultures, black is considered a masculine color. In Egypt, it signifies rebirth. And across many cultures, it's associated with magic, superstition, bad luck and the unknown in branding. It's so widely used, it's almost a neutral that can still communicate any of the meanings above. Depending on context, many designs air simply. Black and white. Colors look brighter on mawr. Intense against black. White, of course, is the color of light and snow, and it often is used to represent purity in the West. It's traditionally the color worn by brides. It can mean innocents goodness perfection, but it can also come across his stark or Steira. Imagine a vast white, snowy landscape. You see what I mean. It can also represent peace, such as in the context of a white flag. But in China, white is the color of mourning and then branding Whites often used to communicate simplicity or something clean white space is away. Graphic designers can emphasize the things they really want you to see, so it can be used around things to create a focus. So those are some basic things that you may ones taken to account where you're using color . 10. 9: And here's an example of how kind of psychology works. Toothpaste. Now we don't really buy the tube. We buy the package, and the colors associated with toothpaste packaging for years have been red, white and blue. I'm gonna come back to this in a minute. Let's go back to when we lived in caves. He has cave beautiful. It's beautiful because you come out of your cave one morning and that's your view. Blue, blue, ocean, blue sky. It's a nice day. We don't have boats yet. We can't fly, So blue is just there. It's not especially important. Just means it's a nice day. How about green? The green is much more important, cause that's where our food usually lives. So it's very important to us. It's not a problem, so his greens around we're gonna eat. How about red? Yeah, red can be a problem. There are not many things in the natural landscape that are red, so seeing red might mean poisonous Berries. You cave his own fire toadstools like this one, or what? You just cut your leg off. Because, of course, the fundamental source over anxiety about red is cause were full of it It's the color of blood. So it often means you've got to do something really, really, really fast. It's going to be in danger, and action and warning on all kinds of urgent stuff on our eyes have actually developed on the basis of the relative importance of these three colors. Our retinas have two different kinds of cell there rod cells and cone cells. Rod cells pick up light intensity. They tend to work at lower levels than cone cells. So if you're up really early in the morning, you can see shape. But you can't see color yet, so you don't bump into stuff. That's the rod cells. Later, when the lights a little more intense, the cone cells start working, but we don't have them all in the same ratio. And for every one that picks up blue, you've got about 20 the pickup green and 40 that pick up red. So we have actually evolved to respond to read. Okay, let's get back to toothpaste. Red, white and blue. White means clean, sterile, totally harmless. Read, on the other hand, means it's also harmful. But the blue means, even though it's dangerous, you don't have to worry cause it's only dangerous to the bad guys. It's completely safe for you. You see how that works? No, Maybe I'm totally wrong. And maybe toothpaste originally tended towards these three colors because of something totally different. But it seems to fit, doesn't it? Color and branding is often very subliminal. We don't consciously notice it, but it's still influences our behaviour. Now I've mentioned supermarkets a couple of times. Can you honestly say from your own memory that you know what color those signs are that hang on the main island, say, Come on, come on by me. It's tricky, isn't it? It's kind of subliminal. Very few people can say just what they are. But even though they might not really signify consciously, they're extremely important. Graphic designers ignore color psychology at their peril. Just please try not to take it too far 11. 10: He is an art board in Adobe Illustrator CC. And I've already created five rectangles over here on the left, which I have filled with a fairly random selection of colors. I'm not trying to produce a beautiful color scheme here, but I want to show you I can edit these colors if you do want to use illustrator to generate a color scheme. So first I'll select all these and then I'm gonna go to the color guide window and click on the editor. Apply colors. Icon at the foot disappears in other places and illustrators. Well, you can see that right now is up here on the control bar. Wherever I click on it, it will open up the re color artwork window. And here are the colors I got on the screen. If I wanted to change one of them, for example, of this green. If I click on the little arrow there and then double click on the short chip, I can now choose a totally different color click OK on, then click where that arrow used to be, and it instantly updates the color on the screen. And it also updates this bar of chips along the top of the window. If I go to the edit window, all of the screen colors are represented by these circles on a color wheel, and I congratulate any one of them and move it. Now, if you find that everything else is moving with it, all you've got to do is click on this icon. Now that all move independently on moving them changes the color chip on screen. Also the colors of the top of the window. You can edit any one of these selected items by dragging on these sliders thes of the hue, saturation, brightness, sliders. And this is an overall brightness adjustment, and these icons allow you to look at the color wheel in different ways. So that's what we've got now. This is a segmented wheel on these air vertical bars of color. Any time I wanted to revert to my original colors, all I'd have to do is click on that icon, and if I want to save what I've done as a color group, then I click on this icon, and there it is because it's in this list on the right of the re color artwork window. It has instantly being added to my swatches window as well. So I'll go show you if I click on swatches. There it is. I could say these into my C C library. I could use them in an illustrative project. And, of course, if they're in a C C library, I can use them elsewhere as well. And that's how you can use Adobe Illustrator CC to generate your own color scheme. 12. 11: So here I am in one of my favorite programs, Adobe in Design CC. And I'm gonna show you how I pick out color schemes to my work. No, I think this is the best method, and I've saved it until now because I wanted you to watch the other videos, of course. But I think the other videos give you some sort of background information so that you had some feeling for where picking out a color scheme comes from. But I think this is way better, and I haven't seen this particular method. Well, what I'm going to end up showing you in books the Tools year, but the particular way I'm going to use it. So first of all, I'm gonna place an image onto the page file place, and this one's called Derwent. And it's a beautiful lake not too far from where I live. And in fact, I was walking my dog there about an hour ago. It's a hard life, so it's still selected, and I'm going to go and get the eyedropper tool, this one. And if I click on the image with the eyedropper tool, it picks up the counter that I clicked on. So this shade of blue is now showing here and here. And if I go to swatches, it's showing here. And if I click on the options button and say New color Swatch, it's showing Here is well, now that's an RGB image. So it's giving me RGB sliders. If I wanted to convert that to see, um, way Kay, I would click here and then scrolling up. One on there seemed like a and that gives me a really good breakdown to two decimal places off the in colors C M y que that he used to produce his particular color. And if I clicked? Okay, it's added toys watches, which means I can edit it to my heart's content, and I could gradually build up a color scheme based on the colors in that picture. Might take a while, but I could do it. Here's a quick way if I click on the color theme, too, which is at the top of this fly out, and that's a bunch of colors I picked from a different image a while ago. No, I'm just going to click on the image anywhere on. I get five colors that come from this image, and if I click on that arrow, I've got variations. I could choose instead if I click on the Swatch icon that all immediately added to my swatches window as C n y que tents that already converted. How about that? And if I clicked on this icon, they'd be added to my creative Cloud library. So using this method, I could very easily create a fairly good color scheme based on the image is always going to use in a piece of work. There's a couple of other ways I could use it as well. I'm gonna unload the color theme tool by clicking on the selection tool and then click on it again. This time, instead of clicking on the image, I'm going to click and drag and just make a selection of a chunk of the sky and look at that. All my colors now come from the area that I enclosed in that selection, so that's another way you can work with a color theme to now I'm gonna unload it again and selected again, and this time I'm gonna hold down the shift key and click here, and those colors are all related to the area that I shift clicked on. So there's three ways to use this tool now those I've seen in books. But this particular twist that's coming up next. No, I haven't. 13. 12: Okay. Now, finally, we're coming to how I actually pick out color schemes myself, and I don't do it myself. I get someone else to do it for me. But it's not just anybody. You heard that thing about standing on the shoulders of giants. Well, user, get someone like DaVinci or Rembrandt or Vermeer to pick out my color schemes for me. I'm not kidding. I'm gonna play some images here. So I'm going to do command or control D, which is the shortcut for filed place. And I'm going to select a Vinci and shift click on Vermeer and then command, click or control Click on Derwin because we've seen that one already. No, I'm gonna tell in design. I want to bring in all these four. And I got four pictures loaded in the cursor, and I'm going to bring him in all together. So hold down, shift and command or control and click and drag. I don't know if you can. You see that grid? It's got sort of nine squares in it. That's the default. I'm keeping the mouse button down, but I'm letting go with the keys. No, I'm gonna tap on the right arrow key That will give me another column, AARP Arrow Key. That would give me another row. So the left arrow key on the down arrow key will give me progressively less rose unless columns and I've got space for four images. And if I let go, there they are. Then I go object fitting fit, frame to content and then click somewhere else and have done. Now all of these pictures are in public. Domain is my guess. I don't know for sure if Picasso's is in public domain or not. I'm pretty sure the Mona Lisa and Rembrandt and Vermeer is Picture are, but it doesn't matter because all I'm going to do is generate color schemes from them and then delete them. I'll hang onto the color schemes, of course. Okay, so we'll start with Da Vinci, the Mona Lisa, and I'm going to get the color theme tool and just click on Mona Lisa. Let's watch the colors change. Here we go. I just scored a color theme from DaVinci, and I could do variations of DaVinci if I want, and I can add them to swatches if I want. So no and swatches. I've got all of the colors that I just picked from the Mona Lisa as C M y que tents. And I could do the same thing for each of these pictures. If I go back to the selection tool, I've no got away from the color theme tool. I'll click on Picasso's blue guitar click on the color theme tool, Click on the picture and I just got a whole new set and so on. So this is very, very easy. If you don't want to pick out the colors for yourself, why not rely on somebody who really knows what they're doing? Like Vermeer, for example, here we go. There's a color scheme from the girl with a pearl earring, easy, fantastic. And then, having scored that and put it in my swatches window, all any to do is get hold of the selection tool, select all the images been them on. There's no possibility of copyright infringement, but I got all these wonderful color schemes to play with, and I connected them to my heart's content. I can't think of a better way of picking out a color scheme than to get a knock down, drag out expert universally globally recognizes a genius to do it for me. Job done